 OF  THE  


BANGOR  THEOLOGICAL  SEMINARY, 


Alcove 


f 


*  i 


Digitized  by  the  Internet  Archive 
in  2013 


http://archive.org/details/studentsinstructOOnich 


THE 


STUDENT'S  INSTRUCTOR 

IN  DRAWING  AND  WORKING 

THE  FIVE  ORDERS  OF  ARCHITECTURE. 

FULLY  EXPLAINING  THE  BEST  METHODS  FOR 

STRIKING  REGULAR  AND    QUIRKED  MOULDINGS  ;    FOR  DIMINISHING  AND    GLUEING    OF  CO- 
LUMNS AND  CAPITALS  ;  FOR  FINDING  THE  TRUE  DIAMETER  OF  AN  ORDER  TO 
ANY  GIVEN  HEIGHT  ;   FOR  STRIKING  THE  IONIC  VOLUTE,  CIRCULAR 
OR    ELLIPTICAL  :    WITH    FINISHED  ^EXAMPLES,  ON  A 
LARGE    SCALE,    OF    THE    ORDERS,  THEIR 
PLANCEERS,  ETC.  ;  AND_SOME 
DESIGNS  FOR  DOOR-CASES, 

ELEGANTLY  ENGRAVED  ON  FORTY-ONE  PLATES — WITH  EXPLANATIONS. 

BY  PETER  NICHOLSON,  ARCHITECT, 

AUTHOR    OF    THE    MECHANIC'S    COMPANION,    CARPENTER'S    NEW  GUIDE,    CARPENTER  AND 

joiner's  ASSISTANT,  ETC. 

THE  SIXTH  EDITION  CONSIDERABLY  AUGMENTED  AND  IMPROVED. 

"-ge,  Shaded        -        .  - 


NEW-YORK  :  ] 

PUBLISHED  AT  THE  OFFICE  OF  THE  RAILROAD  JOURNAL. 

1837. 


/ 


INDEX  TO  THE  PLATES, 


WITH  DIRECTIONS  FOR  PLACING  THEM. 

Plate                                                                                                to  face  Page 

I.  Regular  Mouldings          -          -          -          -          -  5 

II.  Modern  or  Quirked  Mouldings      -----  6 

III.  Modern  Mouldings          -           -----  7 

IV.  A  Rule  for  Diminishing  the  Shaft  of  a  Column        ...  8 
V.  To  Draw  the  Flutes  of  Columns     -----  9 

VI.  To  draw  the  Flutes  and  Fillets  round  the  Shaft  of  a  Column            -  10 

VII.  To  Draw  the  Flutes  and  Fillets  on  a  Column  or  Pilaster       -          -  11 

VIII.  The  Manner  of  glueing  up  the  Shaft  of  a  Column    -          -          -  12 

OF  THE  TUSCAN  ORDER. 

IX.  The  Tuscan  Order  at  large,  Outline            -          -          -          -  13 

X.  The  Tuscan  Order  at  large,  Shaded           -          -          -          -  16 

XI.  To  Draw  the  Tuscan  Order  to  a  given  height          -          -          -  17 

XII.  A  Finished  Base  and  Capital.         -          -          -          -          -  18 

OF  THE  DORIC  ORDER. 

XIII.  The  Doric  Order  at  large,  Shaded   -          -          -          -          -  19 

XIV.  Planceer  of  the  Doric  Order         -----  20 

XV.  The  Doric  Order,  with  Dentils  at  large,  Shaded      -          .          -  21 

XVI.  The  Grecian  Doric,  from  the  Temple  of  Minerva  at  Athens           -  22 

XVII.  The  Parts  at  large  of  the  same  -----  23 
XVIII.  The  Grecian  Doric,  from  the  Temple  of  Theseus  at  Athens           -  24 

XIX.  The  Parts  at  large  of  the  same      -----  25 

XX.  Other  Parts  at  large          ------  26 

XXI.  Greecian  Doric,  from  the  Portico  at  Athens  27 

OF  THE  IONIC  ORDER. 

XXII.  Roman  Ionic   28 

XXIII.  Ionic  Capital,  Front,  and  Plan       -----  29 

XXIV.  Ionic  Order  at  large,  Shaded        -----  30 

XXV.  Modem  Ionic  at  large,  Shaded       -          -          -          "          -  31 

XXVI.  Ionic  Cornice  and  Planceer  -----  32 
XXVII.  Grecian  Ionic,  from  the  Temple  at  Athens  33 
XXVIII  Shows  how  to  describe  the  Ionic  Volute     -          -          -  -'34 

XXIX.  To  Draw  an  Angular  Volute,  also  an  Elliptical  Volute        -          -  35 

XXX.  Methods  of  glueing  up  Ionic  Capitals        ...          -  36 


IV. 

OF  THE  CORINTHIAN  ORDER. 


XXXI.  Corinthian  Capital  at  large,  in  Outline     .         '  -  -          -  37 

XXXII.  The  Corinthian  Order  fully  enriched,  Shaded  38 

XXXIII.  Corinthian  Cornice  and  Planceer,  Shaded  39 

XXXIV.  To  Draw  the  Corintliian  Column  and  Entablature  Scale  -          -  40 

OF  THE  COMPOSIT  ORDER. 

XXXV.  The  Composite  Capital  at  large,  in  Outline  41 

XXXVI.  The  Composite  Order  fully  enriched,  shaded  42 

XXPVII.  Various  Pedestals,        -----  .  43 

XXXVIII.  Of  Bases,  showing  the  method  of  glueing  up  etc.  -           -  44 


XXXIX.  Design  for  a  Door-case  of  the  Tuscan  Order  ...  45 
XL.  Design  for  a  Door-case  of  the  Doric  Order  46 
XLI.  Design  for  a  Door-case  and  Portico,  Grecian  Ionic  -  -  47 


PREFACE. 


The  following  treatise  will  be  found  particularly  useful  to  students  in  Architec- 
ture. It  contains  a  complete  development  of  the  methods  of  drawing  and  work- 
ing the  five  orders,  which  may  be  said  to  be  the  foundation,  the  very  A  B  C  of  the  art 
of  building:  as  from  these,  with  their  several  proportions  and  variations,  arises  all  that 
is  great,  elegant,  or  harmonious  in  the  noblest  structure  ;  wherefore  I  most  earnestly 
recommend  to  the  student,  to  obtain  a  thorough  knowledge  of  every  order,  its  parts,  pro- 
portions, and  entire  figure,  as  being  absolutely  necessary  to  all  who  aspire  to  eminence 
in  this  profession. 

To  this  purpose  the  following  work  is  well  adapted,  and  gives,  in  the  most  detailed 
and  accurate  manner,  examples  of  the  five  orders,  their  proportions  and  enrichments, 
according  to  the  present  taste  ;  which  are  so  completely  explained  by  the  lines,  and  the 
measurement  on  the  plates,  that  a  little  attention  will  enable  every  p  erson  readily  to 
comprehend  the  proportion,  use,  and  situation  of  each  member  :  and  also  the  several 
methods  adopted  in  calculating  the  parts,  and  for  setting  them  off  on  rods  for  practice, 
to  any  scale.  The  manner  of  drawing  them  on  paper  is  fully  explained,  and  I  must 
here  advise  the  student  to  make  a  diligent  practice  of  drawing  the  outlines  to  a  large 
scale,  so  that  the  measures  may  apply  with  accuracy,  before  he  proceeds  to  finish  in 
shading  ;  by  doing  so,  he  will  acquire  a  facility  of  manner,  and  an  accuracy  of  eye  in 
judging  of  the  beauties  of  proportion,  which  will  ever  be  of  essential  use  to  him. 

The  explanation  of  the  Tuscan  order  is  given  very  full,  and  as  the  same  methods 
apply  to  each  of  the  other  orders,  they  are  not  repeated.  It  is  scarcely  necessary  to  ob- 
serve, the  height  of  the  several  columns  is  given  according  to  the  most  esteemed  mas- 
ters ;  nevertheless,  they  may,  with  much  propriety,  be  varied,  to  suit  particular  purposes 
or  situations. 

The  method  of  describing  quirked  mouldings  is  new  and  easy,  for  practice,  for  any 
swell.  I  have  shown  a  new  method  for  striking  the  Ionic  volute,  which  will  produce 
that  spiral  curve  with  more  elegance  and  regularity  in  the  sweep,  than  by  any  other 
method  I  have  seen. 

That  important  branch  of  practice,  glueing  up  of  columns  and  capitals,  is  shown  in  a 
new  and  accurate  manner,  easy  to  be  understood.  I  have  also  shown  new  and  easy 
methods  for  diminishing  of  columns,  and  for  making  the  flutes  and  fillets  on  them  and 
on  pilasters  ;  which,  with  various  other  interesting  matters,  will,  I  hope,  make  the  ope- 
rative parts  of  the  orders  better  understood,  both  in  theory  and  in  practice,  than  by  any 
former  publication. 

P.  N. 


PREFACE    TO    THE    THIRD  EDITION. 


The  usefulness  of  this  little  volume  has  been  fully  proved  by  the  great  numbers 
which  have  been  sold :  a  new  edition  being  now  called  for,  I  have  examined  the  work 
throughout,  and  have  made  such  corrections  and  additions  as  appeared  to  be  necessary 
to  adapt  it  to  the  prevailing  style  of  architecture  :  to  this  purpose  I  have  given  a  new 
plate  containing  a  variety  of  Modern  Mouldings,  also  six  new  ones  of  Antique  Doric 
Capitals  and  entabulatures,  with  the  parts  at  large  and  in  detail:  so  that  in  this  small 
work  every  member  of  these  specimens  of  ancient  magnificence  is  equally  clear  and  dis- 
tinct, as  in  the  large  work  of  the  original  author  ;  and  as  I  have  reduced  the  proportions 
to  the  modular  scale,  they  are  more  easily  put  in  practice.  Upon  the  whole,  it  will  be 
found  that  the  Greek  Doric,  which  has  of  late  been  so  much  in  vogue,  is  fully  explained 
and  elucidated.  I  have  also  given  an  example  of  a  chaste  and  noble  Ionic  Capital ;  all 
these  are  selected  from  Stuart's  elegant  and  interesting  work  on  the  Antiquities  of  Athens  ; 
the  other  new  plates  are  an  outline  of  the  Composite  Capital,  for  the  use  of  learners, 
and  an  antique  Ionic  Door-case,  proper  to  be  drawn  from  or  worked.  These  additions, 
on  ten  new  plates,  with  various  corrections  in  the  descriptions,  render  this  edition  more 
complete  and  useful ;  and  I  think  there  is  now  nothing  wanting  to  constitute  it  a  com- 
plete introduction  to  the  orders  of  architecture,  both  ancient  and  modern. 


REGULAR  MOULDINGS. 
Plate  1. 


Bead. 


5 


EXPLANATIONS,  &c. 
PLATE  I. 

TO   DESCRIBE   THE   SEVERAL  KINDS  OF  MOULDINGS. 


To  describe  an  Ovolo, 

Take  the  height  a  b ;  set  the  compasses  in  6,  describe  an  arc,  and  with  the  same  dis- 
tance on  the  projection  at  c,  describe  an  arc  cutting  the  former  at  a,  then  on  a}  as  a  cen- 
tre, describe  an  arc  be,  and  the  ovolo  will  be  completed. 


To  describe  a  Cavetto. 

On  b,  with  the  height  a  b,  describe  an  arc  on  the  projection  at  c,  with  the  same  dis- 
tance describe  another  arc  cutting  the  former  at  d\  then  with  the  same  extension  on  d, 
describe  the  arc  b  c,  and  it  will  be  a  cavetto. 


To  describe  a  Cima  Recta. 

Join  the  projections  at  each  end  by  the  right  line  A  B,  divide  it  into  two  equal  parts  at 
A,  and  in  order  to  make  it  look  bold,  divide  A  B  into  three  equal  parts,  or  nearly  so,  and 
with  one  third,  on  A  and  h  as  centres,  describe  arcs,  cutting  each  other  at  d ;  and  in 
the  same  manner  find  the  intersection,  on  the  opposite  side  of  the  line  at  c ;  lastly,  on  d 
and  c,  describe  the  arcs  A  h,  and  h  B,  and  it  will  form  the  cima  recta  required. 


To  describe  the  Torus. 

Divide  the  height  into  two  equal  parts  at  e.  and  on  e,  as  a  centre,  describe  a  semi- 
circle to  that  height ;  and  it  will  form  a  torus. 

The  Bead  is  formed  as  the  torus. 

Note.  These  are  the  forms  of  regular  mouldings,  viz :  the  height  equal  to  the  pro- 
jection: but  there  are  other  forms,  where  the  projection  is  often  less  than  the  height, 
and  the  curvature  of  the  moulding  much  flatter  ;  however,  the  same  methods  for  de- 
scribing the  one,  will  do  for  the  other. 


6 


PLATE  II. 

MODERN   OR   Q.UIRKED  MOULDINGS. 

To  describe  the  Ci?na  Reversa  A. 
Join  the  projections  at     and  b,  by  the  line  a  b,  and  proceed  in  the  same  manner  at 
with  the  cima  recta  before  described. 

To  describe  a  quirked  Cima  Reversa  B. 
Divide  the  perpendicular  height  into  seven  parts  ;  with  two  of  the  parts  describe  a 
semicircle  c  e ;  on  a,  draw  a  line  from  e  c,  and  on  the  height  of  the  first  division  from 
the  bottom  b,  describe  the  arc  c  d,  and  it  will  complete  the  moulding. 

The  quirked  Cima  Reversa  C 
Is  described  in  a  similar  manner,  as  is  plain  on  inspection. 

To  describe  a  quirked  Ovolo  D. 
Divide  the  height  into  four  equal  parts ;  with  one  part  on  c,  describe  the  arc  af  g. 
Join  c  b  to  the  end  of  the  fillet  below  ;  on  b  describe  the  arc  c  d,  on  c,  with  the  distance 
a  b,  describe  an  arc  cutting  the  former  at  d ;  through  d,  and  c.  draw  the  line  d  c  f7  cutting" 
the  small  circle  at  f :  then  with  a  radius,  d  ft  describe  the  arc  f  b,  and  it  will  com- 
plete a  quirked  ovolo. 

To  describe  the  quirked  Moulding  JB,  flatter  in  the  lower  part  than  that  at  D. 

Describe  the  smaller  circle  as  in  the  last ;  and  through  its  centre,  and  the  end  b  of 
the  fillet,  draw  the  line  c  b  e,  taking  the  point  e,  according  as  you  intend  to  have  the 
under  part  of  the  moulding  flatter  or  quicker  :  take  the  distance  e  c,  and  on  b,  describe 
an  arc  at  d,  then  take  the  distance  e  a,  that  is  e  e,  made  less  by  the  radius  c  a,  of  the 
smaller  arc  a fg,  on  c,  with  that  distance,  describe  an  arc  cutting  the  former  at  d ;  lastly  on 
d,  with  a  radius  d  f)  describe  the  arc /    and  it  will  complete  the  quirked  ovolo  required. 

Note.  The  quirked  ovolo  at  F,  is  described  in  the  same  manner  as  E  ;  the  only  dif- 
ference being  in  the  projection,  which  is  greater. 

These  are  the  most  proper  for  the  workman's  purpose,  though  various  other  methods 
may  be  shown  to  answer  the  same  purpose ;  as  G,  H,  I,  K,  which  are  traced  from  a 
semicircle,  by  applying  the  same  projections  to  a  line  of  any  inclination  required. 

G,  is  a  torus  moulding  taken  from  a  semicircle  ;  and  may  be  applied  where  the  pro- 
jection of  the  upper  fillet  is  greater  than  the  projection  of  the  lower. 

To  describe  a  Scotia  M. 

From  the  top  of  the  fillet  draw  B  A,  perpendicular,  cutting  the  bottom  of  the  fillet  at 
A  :  from  g  the  end  of  the  bottom  fillet,  draw  the  line  g  a  c,  parallel  to  A  B  :  make  g  a, 
equal  to  twice  g  A,  on  a :  describe  the  semicircle  gee,  cutting  the  line  g  a  c,  at  <*, 
through  c,  and  the  end  of  the  fillet,  at  B,  draw  the  line  cBe,  cutting  the  semicircle  at  e : 
draw  the  line  ade,  cutting  A  B,  in  d\  lastly  on  d,  describe  the  arc  e  B,  and  it  will  com- 
plete the  scotia. 

N  is  a  scotia,  described  by  a  similar  method  to  the  ovoloa,  G,  H,  I,  K.  viz.  through 
points  found  from  a  semicircle,  to  the  height  of  the  moulding. 


MODERN  MOULDINGS. 


MODERN  MOULDINGS. 
Plate  3. 


7 


PLATE  III. 

MODERN  MOULDINGS. 

To  describe  a  Grecian  Ovolo  or  Echinus. 

Have  two  tangents  to  the  curve,  and  the  points  of  contact  given,  one  of  the  points 
of  contact  being  the  greatest  projection,  and  the  other  the  lower  extremty  of  the  curve. 

Fig.  1,  2,  3,  let  A  B,  B  C,  be  the  two  tangents,  A  the  point  of  contact  at  the  greatest 
projection,  and  C  the  lower  extremity  of  the  curve  ;  draw  A  E,  parallel  to  B  C,  and  C  E, 
parallel  to  B  A  ;  produce  C  E,  to  F,  making  E  F,  equal  to  E  C  ;  divide  A  E,  and  AB, 
each  into  the  same  number  of  equal  parts  ;  from  the  point  F,  draw  lines  through  the 
points  of  division  in  A  E,  and  also  from  the  point  C,  draw  lines  to  the  points  of  division 
in  A  B,  to  meet  the  others  through  the  divisions  of  A  E  ;  through  the  intersections  draw 
a  curve,  which  will  be  the  contour  of  the  ovolo  required. 

Observations. 

The  moulding  will  be  flatter  or  quicker  according  as  the  point  B,  the  extremity  of  the 
tangent  B  C,  is  nearer  or  more  remote  from  A,  the  greatest  projection.  In  fig.  1,  BD, 
is  one  half  of  AD;  in  fig.  2,  B  D,  is  one  third  of  A  D  ;  and  in  fig.  3,  B  D,  is  one  fourth 
of  A  D.  Also  the  quirk  or  recess  at  the  top  will  be  greater,  as  the  distance  A  G  is 
greater,  A  G,  being  in  the  same  straight  line  with  A  D. 

The  same  things  being  given,  to  describe  the  Moulding  to  any  of  the  Conic  Sections. 
Fig.  4.  Draw  A  H,  parallel  to  the  fillets  ;  produce  the  vertical  line  C  H,  to  K, 
making  H  K  equal  H  C,  and  H  I  equal  toBD:  join  A  I ;  divide  A  I,  and  A  B,  each 
into  the  same  number  of  equal  parts,  and  through  the  points  of  division  in  these  lines, 
and  through  the  points  K,  and  C,  draw  lines  to  meet  each  other,  and  through  these 
points  draw  a  curve,  and  it  will  be  the  ovolo  required.  ( 

Observation. 

If  B  D,  were  less  than  the  half  of  A  D,  the  moulding  would  be  elliptical ;  and  if  B  D, 
were  equal  to  the  half  of  A  D,  the  moulding  would  be  parabolical.  In  this  example  B  D 
is  greater  than  the  half  of  AD,  the  moulding  is  hyperbolical.  Of  this  form  is  the 
echinus  in  all  the  Grecian  Doric  capitals,  except  the  Doric  Portico  at  Athens,  in  which 
the  echinus  of  the  capital  is  elliptical. 

The  same  things  being  given  to  describe  the  Eckiuus,  the  point  C  being  the  extremity  of  one 

of  the  axes. 

Fig.  5,  join  A  C,  and  bisect  it  in  L  ;  draw  B,  L,  M,  C  M,  perpendicular  to  B  C,  and 
PM,  parallel  to  B  C,  with  the  distance  CM,  on  the  point  A,  describe  an  arc  cutting 
P  M,  at  O  :  produce  C  M,  to  N,  and  draw  A,  O,  N  ;  make  N  P,  equal  to  A  N,  and  M  P 
and  M  will  be  the  two  semi-axe3  by  which  the  curve  may  be  described. 

Fig.  6,  is  a  Scotia  or  Trochillus ;  the  fillets  may  be  considered  as  tangents,  and  the 
line  parallel  to  the  line  joining  the  fillet,  as  another  tangent.  Fig.  7,  a  cima-recta,  com- 
pounded of  two  quarters  of  an  ellipse  upon  the  axes.  Fig.  8,  a  cima  reversa,  com- 
pounded of  two  quarters  of  an  ellipse  from  conjugate  diameters,  which  are  given  in 
position.    Thesa  are  described  upon  similar  principles  to  figures  1,  2,  and  3. 


8 


PLATE  IV. 

TO   MAKE   A   RULE   FOR  DIMINISHING    THE  SHAFT   OF   A  COLUMN. 

Method  I. 

Fig.  1.  Describe  a  semicircle,  on  the  bottom  of  the  column  A  B  ;  from  the  top  of  the 
column,  draw  the  line  E  4,  parallel  to  the  axis  D  C,  or  middle  line  of  the  column,  cut- 
ting the  semicircle  at  the  base  in  4  ;  divide  the  arc  A  4,  into  four,  or  any  other  number 
of  equal  parts,  and  divide  the  height  C  D,  into  the  same  number  of  equal  parts,  as  1,  2, 
3  ;  through  the  divisions  1,  2,  3,  4,  of  the  semicircle  at  the  base,  draw  lines  1  2  b,  3  c, 
and  4  r/,  parallel  to  A  B ;  set  off  those  parts  from  each  side  of  the  axis,  on  the  corres- 
ponding numbers  on  the  shaft ;  then  by  bending  a.  thin  lath  or  slip,  round  pins  or  nails 
fixed  in  these  points,  you  will  have  the  contour,  or  curve  of  the  column :  and  the  re- 
verse of  this  will  be  the  edge  of  the  rule  for  working  it  by. 

Method  2. 

Fig.  2.  Divide  the  height  of  the  diminishing  rule,  as  A  B,  into  any  number  of  equal 
parts  ;  as  four,  at  1,  2,  3,  and  divide  the  difference  of  the  semidiarneter  C  D,  at  the  top 
and  bottom,  into  the  same  number,  viz.  four,  and  draw  lines  from  each  division  on  C  D, 
towards  E,  at  the  bottom  ;  cutting  lines  drawn  parallel  to  the  base,  through  1,  2,  3, 
will  give  points,  by  which  you  may  draw  as  before,  a  curve  of  a  very  regular  and  plea- 
sing form,  which  may  be  drawn  on  the  edge  of  the  rule,  or  on  the  column  itself,  as  is 
most  convenient  for  the  workman ;  this,  in  my  opinion,  is  much  preferable  to  the  first 
method. 

Fig.  3.  shows  the  same  thing  not  in  its  just  proportion  but  clearer  to  inspection,  as 
the  divisions  are  much  larger. 


TO   DRAW  THE   FLUTES   OF  COLUMNS. 
Plate  5. 


9 


PLATE  V. 

TO    DRAW    THE   FLUTES    OF  COLUMNS. 

To  draw  the  Flutes  of  the  Doric  Column. 

On  A  B,  Fig.  1,  the  diameter  of  the  column,  describe  a  semicircle,  and  divide  the 
semicircle  into  ten  equal  parts  ;  (as  the  Doric  column  usually  contains  twenty  flutes, 
which  are  in  general  made  shallow,  and  without  fillets  ;)  through  every  two  of  the 
divisions  draw  lines  E  1,  E  2,  E  3,  E  4,  to  E  10,  between  any  two  divisions,  (as  3  and 
4,)  describe  two  arcs  whose  vertex  is  C  :  on  E  with  a  radius  E  C,  describe  the  quad- 
rant G,  H,  I,  K,  L,  M,  cutting  the  lines  E  A,  E  1,  E  2,  E  3,  E  4,  &c,  in  the  points, 
G,  H,  I,  K,  L,  M,  which  are  the  centres  for  the  flutes  ;  but  if  the  flutes  are  wanted 
deeper,  you  may  make  the  distance  5  D,  halfihe  breadth  of  a  flute  ;  and  proceed  as 
shown  on  the  other  quadrant,  and  from  a,  b,  c,  &c,  draw  perpendiculars  to  the  bottom 
of  the  column. 

Fig.  2.  The  Ionic,  Corinthian,  and  Composite  Orders, 

Have  in  general  twenty-four  flutes,  with  a  fillet  between  each  ;  (the  fillet  one-third 
of  a  flute ;)  in  order  to  have  that  number,  and  preserve  the  just  proportion  of  a  flute  to  a 
fillet,  observe  the  following  rule :  divide  the  semicircumference,  Fig  3,  into  twelve  equal 
parts,  at  1,  2,  3,  4,  5,  &c,  to  12,  divide  any  division  into  eight  equal  parts,  as  that  be- 
tween 5  and  6,  then  take  three  of  these  parts,  and  on  1,  2,  3,  &c.  to  12,  as  centres,  de- 
scribe arcs  which  are  nearly  semicircular  as  in  the  plate,  and  then  draw  them  to  the 
column,  Fig.  4. 


.2 


10 


PLATE  VI 


TO   DRAW   THE   FLUTES   AND   FILLETS   ROUND   THE   SHAFT   OF   A  COLUMN. 


If  the  columns  are  of  stone,  or  wood,  the  whole  or  any  part  may  be  fluted  in  the 
following  manner :  after  being  properly  rounded,  and  the  ends  or  joints  made  parallel  to 
each  other,  find  the  centres  of  the  circles  at  each  end  ;  and  if  they  are  not  already  found, 
cut  two  holes,  directly  in  the  middle  at  each  end  perpendicular  to  the  joints,  so  that  the 
centre  shall  be  in  the  middle  of  the  holes  ;  this  being  done,  drive  in  two  pieces  of  wood, 
so  as  to  be  quite  tight  in  the  holes,  and  to  project  out  about  five  or  six  inches  ;  let  the 
proj  ecting  parts  be  well  rounded  off,  so  as  to  be  exactly  in  the  middle  of  the  ends,  then 
make  a  diminishing  rule  as  in  Plate  IV.  To  fit  the  curve  of  the  column,  let  the  ends 
of  this  diminishing  rule  be  fixed  into  two  pieces,  a  b ;  which  are  made  to  revolve  round 
the  pins  at  the  ends  by  means  of  notches,  or  any  other  convenient  way ;  so  that  the 
curved  edge  of  the  rule  be  very  near  to  the  curved  surface  of  the  column,  and  one  side 
of  the  rule  to  tend  exactly  to  the  centre :  to  keep  the  rule  steady  from  bending  side- 
ways, fix  a  rule  to  the  other  side,  the  whole  length  of  the  diminishing  rule,  of  a  sufficient 
strength  to  keep  the  diminishing  rule  from  bending  ;  so  that  the  breadths  of  the  two 
rules  will  be  at  right  angles  to  each  other,  the  two  end  pieces  and  diminishing  rule  being 
fixed  fast  together  ;  the  whole  may  be  turned  round  the  pins  at  the  ends  as  centres,  like 
one  entire  piece :  then  the  operation  of  drawing  the  flutes  and  fillets  will  be  as  follows  : 
suppose  it  were  required  to  flute  the  Ionic,  Corinthian,  or  Composite  columns,  the  cir- 
cumference at  either  end  will  be  divided  into  six  equal  parts,  by  taking  half  the  diame- 
ter at  that  end,  and  applying  it  round  the  said  circumference  ;  then  each  of  these  divi- 
sions being  divided  into  four,  the  whole  circumference  will  be  divided  into  twenty-four  : 
in  order  to  have  the  proportion  of  a  flute  to  a  fillet  as  1  to  3,  divide  any  one  of  the  last 
divisions  into  four  equal  parts,  and  one  of  these  parts  will  be  the  breadth  of  a  fillet, 
which  being  set  off  from  the  same  side  of  each  division,  the  whole  column  will  be  di- 
vided into  flutes  and  fillets  ;  then  by  turning  the  rule  round  to  each  mark,  or  division, 
you  may  with  a  piece  of  sharp  steel  draw  on  the  shaft  of  the  column  the  flutes,  and 
fillets,  to  the  greatest  exactness,  by  keeping  it  close  to  the  side  of  the  rule. 

This  method  is  by  far  the  most  ready,  as  well  as  the  most  correct  of  any  that  I  have 
yet  seen  ;  this  machine  is  shown  complete  on  the  plate,  and  I  hope  a  careful  inspection 
will  render  it  sufficiently  plain  :  there  are  other  methods  of  drawing  the  flutes  on  the  shaft 
of  a  column,  as  by  drawing  two  parallel  lines  through  the  centre  at  each  end  of  the 
column,  and  dividing  the  circumferences  at  the  ends  into  the  number  of  flutes  and  fillets, 
then  bending  a  thin  rule  from  the  respective  divisions  at  each  end  ;  it  is  necessary  to  be 
careful  that  the  edge  of  the  rule  by  which  you  draw,  touch  the  curved  surface  of  the 
column  only:  but  this  method,  however  simple,  is  very  liable  to  error.  Other  methods, 
used  by  some  workmen  for  setting  off  the  flutes  and  fillets  round  the  shaft  of  a  column; 
are  as  follow : 


TO  DRAW  THE  FLUTES  AND  FILLETS  ON  THE  SHAFT 

OF  A  COLUMN. 


Plate  6. 


1 1 


PLATE  VII. 

TO  DRAW   THE   FLUTES   AND   FILLETS  ON   A   COLUMN   OR  PILASTER. 

Fig.  i.  A  B,  is  any  line  divided  into  flutes  and  fillets,  greater  than  the  circumference 
of  the  column  at  the  base ;  on  A  B,  describe  the  equilateral  triangle  A  B  G,  draw  all 
the  points  in  A  B  to  G,  then  if  G  C  and  G  D,  are  equal  to  the  circumference  of  the 
column  at  the  bottom  of  the  shaft,  the  line  C  D  will  be  equal  to  the  same  circumference  ; 
lajr  a  piece  of  parchment,  or  any  thing  that  is  pliable,  on  C  D,  and  mark  all  the  flutes 
and  fillets  on  it ;  then  apply  this  round  the  column  at  the  bottom,  and  prick  them  round 
it,  divide  the  circumference  at  top  in  the  same  manner  as  E  F,  and  draw  the  flutes  with 
a  thin  rule  as  before. 

Fig.  2  is  another  method  for  marking  the  flutes  and  fillets  round  the  end  of  the 
column  ;  the  line  A  B,  is  aline  divided  into  flutes  and  fillets,  less  than  the  circumference 
of  the  top  part  of  the  column ;  draw  any  number  of  parallel  lines  from  the  divisions  of 
A  B,  let  BC,  B  D,  BE,  be  the  top  or  bottom  diameter  ;  set  one  foot  of  the  compasses 
in  B,  and  cross  the  line  A  F,  at  C  D,  or  E,  draw  the  line  B  C,  B  D,  or  B  E,  and 
either  will  be  divided  into  flutes  and  fillets,  as  before. 

Let  A  B  be  the  breadth  of  the  pilaster,  draw  any  line  A  C ;  take  your  compasses  at 
any  convenient  opening,  and  run  twenty-nine  times  the  said  opening  from  A  to  C,  and 
join  B  C ;  then  set  your  bevel  to  the  angle  A  C  B,  and  from  the  points  on  A  C,  draw 
lines  cutting  A  B,  as  is  shown  by  the  figure,  and  from  the  points  on  A  B,  draw  the  flutes 
and  fillets  with  a  common  gauge. 

There  is  another  method  of  drawing  the  flutes  of  a  diminished  pilaster  with  one 
gauge,  and  at  one  movement,  by  making  the  gague  equal  to  the  width  of  the  bottom, 
or  something  wider;  but  as  this  method  is  erroneous  in  its  principle,  no  diagram  is  ex- 
hibited. 

The  best  method  to  draw  the  flutes  on  a  diminished  pilaster,  is  to  divide  the  height  of 
the  trunk  into  any  convenient  number  of  equal  parts  on  a  longitudinal  line  passing 
through  the  middle  of  the  breadth  at  top  and  bottom,  and  through  the  points  of  division 
draw  transverse  lines  to  the  longitudinal  line  :  set  off  the  flutes  and  fillets  on  each 
transverse  line  :  take  nails  or  brads  in  each  corresponding  point  of  each  transverse  line, 
and  bend  a  pliable  slip  of  wood  round  the  nails,'  and  draw  a  line,  and  proceed  till  every 
set  of  corresponding  points  are  used,  and  the  pilaster  will  have  its  fnre  drawn  for  flutes 
as  required. 


12 


PLATE  VIII 

TO   GLUE   UP   THE   SHAFT  OF   A  COLUMN. 

This  must  be  glued  up  in  eight  or  more  staves,  according  to  the  bigness  of  the  column, 
but  always  observe  to  have  the  joint  in  the  middle  of  the  fillet,  and  not  in  a  flute,  as 
it  would  very  much  weaken  it ;  in  this  plate  is  shown  the  plan  of  the  top  and  bottom 
ends,  or  the  horizontal  section  at  each  end.  If  eight  pieces  are  sufficient  for  the  column, 
you  must  describe  an  octagon  round  the  ends,  then  draw  lines  from  each  angle  of  the 
octagon  to  the  centre,  and  it  will  give  the  bevel  of  the  edges  of  the  staves  for  the 
joints,  which  must  be  quite  straight  from  top  to  bottom  ;  only  that  the  staves  be  nar- 
rower at  the  top,  as  is  shown  by  the  plans  of  the  column  ;  the  staves  must  be  of  a  suf- 
ficient thickness,  because  the  outside  is  to  be  curved  to  the  swell  of  the  column,  by 
means  of  a  diminishing  rule :  then  proceed  to  glue  the  pieces  together  one  after  the 
other  ;  as  the  glue  dries,  block  them  well  at  the  corners  in  the  inside,  which  will  greatly 
strengthen  the  joints :  proceed  in  this  manner  to  the  last  stave  ;  the  blocks  must  be 
glued  on  and  dried  before  you  can  glue  your  last  stave  in  :  or  you  may  glue  pieces  quite 
across  for  the  last  stave,  fixed  to  the  inside  of  the  two  adjoining  staves ;  or  by  screws 
fix  them  to  each  stave,  then  the  under  side  of  your  last  stave  must  be  planned  so  as  to 
rub  well  on  the  cross  pieces,  and  when  the  stave  is  put  in,  and  glued  upon  the  said 
cross  pieces,  you  may  drive  it  tight  home  like  a  wedge,  and  the  whole  will  be  as  firm  as 
possible  ;  but  care  must  be  taken  that  the  staves  and  blocks  are  quite  dry,  otherwise  the 
column  after  some  time  will  be  in  danger  of  corning  to  pieces  at  the  joints ;  in  glueing 
each  piece,  care  must  be  taken  to  try  it  to  the  plan,  or  backing  mould,  as  a  trifling  dif- 
ference in  each  will  make  a  very  sensible  error  in  going  round  the  column  after  the 
glueing ;  when  the  glue  in  the  columns  is  dry,  you  may  proceed  to  work  off  the  angles 
regularly  all  round ;  the  column  will  then  have  double  the  number  of  sides,  or  cants  ; 
proceed  in  the  same  manner,  working  off  the  angles  as  before,  so  as  to  make  the  column 
have  its  sides  or  cants  quite  regular  ;  lastly,  make  a  plane  to  fit  the  curve  of  the 
column  at  the  bottom,  or  rather  flatter  ;  then  round  off  all  the  angles,  until  the  sur- 
face of  the  column  is  quite  smooth  :  there  is,  however,  one  thing  I  would  observe  in 
respect  to  the  moulds  for  jointing  the  staves  together  ;  that  is,  they  are  not  exactly  true 
when  applied  in  a  direction  perpendicular  to  the  joint ;  the  proper  method  to  find  them 
true  is  in  the  same  manner  as  you  will  find  the  backing  of  a  hip  rafter,  or  of  a  pitch  sky- 
light ;  but,  however,  this  exactness  is  not  always  attended  to,  as  the  deviation  from  the 
truth  is  so  small  as  to  be  disregarded :  after  your  column  is  quite  finished,  it  ought  to  be 
well  painted,  to  preserve  it  from  being  injured  by  the  weather. 

Another  method  is,  glue  the  column  in  two  halves,  and  then  glue  these  together ;  the 
blockings  may  be  put  in  a  considerable  way  by  hand  ;  but  if  the  column  is  too  long,  a  rod 
of  sufficient  length  may  be  used.  Either  of  these  methods  have  inconveniences  which 
cannot  be  avoided  ;  by  the  former  method  the  last  joints  cannot  be  rubbed  together  be- 
cause of  the  tapering  of  the  stave,  but  if  it  is  glued  quickly,  it  will  be  pretty  sound 
by  the  latter  method  there  is  an  uncertainty  of  the  blockings  being  sound. 

Note. — The  grain  of  the  blocking  pieces  must  be  the  same  way  as  the  grain  of  the 
column,  that  if  affected  by  weather,  they  may  expand  alike. 

For  the  method  of  glueing  up  bases,  see  Plate  XXXVIII,  and  description. 


Plate  8. 


TUSCAN  ORDER. 
Plate  9. 


i 
t 


r 


18 


PLATE  IX. 


TO  DRAW   THIS   OR  ANY"  OTHER  ORDER. 


Names  of  the  Mouldings. 


IN   THE  ENTABLATURE. 


E  a  Fillet 
F  Cima  Recta 
G  Fillet 
H  Corona 

1  Ovolo 
K  Fillet 
L  Cavetto 

M   

N  Tenia 

O  Upper  Fascia 

P  Lower  Fascia 


In  the 
Cornice 


Frize 

In  the 

Architrave 


IN    THE  COLUMN. 


a  Fillet 
R  Fascia 
S  Ovolo 
T  Fillet 
U  Neck  of  the 
Capital 

V  Bead 
W  Fillet 
X  Fillet 

Y  Toms 
Z  Plinth 


In  the 
Capital 

In  the 
Shaft 

In  the 
Base. 


Make  a  scale  of  the  diameter  of  the  column  at  the  bottom ;  first  divide  it  into  six 
equal  parts  called  modules,  divide  the  first  of  these  into  ten,  which  are  called  minutes : 
then  every  member  of  the  order  is  so  many  minutes  of  this  scale,  either  in  height  or 
projection :  the  operation  is  as  follows :  draw  an  axis  or  perpendicular  through  the  mid- 
dle of  the  column ;  on  this  line  set  all  your  heights,  or  on  any  other  line  parallel  to  it ; 
hten  make  another  line  parallel  to  tbe'axis  at  the  distance  of  twenty-five  minutes,  which 
allows  five  minutes  on  each  side  for  the  diminution  at  top  ;  from  this  line  set  off  your 
projections,  as  figured  in  the  plate ;  for  example,  the  projection  of  the  top  fillet  E  is 
forty-two  minutes,  and  the  projection  of  the  next  fillet  G  is  thirty-two  minutes  and  a 
half ;  then  proceed  to  draw  the  cima  recta,  as  already  shown  at  Plate  I,  and  afterwards 
all  the  other  members,  until  you  come  to  the  base  which  is  set  off  from  the  outer  ex- 
tremity of  the  column,  that  is  thirty  minutes  from  the  axis. 

In  the  Tuscan  Order,  the  column  is  seven  diameters  high,  that  is  seven  times  its  diam- 
eter at  the  base,  the  entablature  is  one  fourth  of  the  height  of  the  column :  but  if  the 
order  has  a  pedestal,  which  is  seldom  the  case,  it  will  be  one-fifth  part  of  the  entire  order 
in  height. 

To  make  this  practice  as  easy  as  possible  to  the  workman,  the  following  examples  will 
be  found  useful. 


TO   FIND   THE   DIAMETER  OF   THE   TUSCAN   COLUMN,   W KEN    THAT  ALONE 
IS    TO    BE  EXECUTED. 

RULE. 

Divide  the  height  of  the  column  by  seven,  and  the  quotient  will  be  the  diameter. 

Example  1. 

Suppose  it  were  required  to  execute  the  Tuscan  column  alone,  to  the  height  of 
twenty-two  feet,  three  inches,  I  demand  the  diameter  of  the  column. 


14 


OPERATION, 

7)22  ...  3 


3  ...  2» 

So  that  the  diameter  of  the  column  is  three  feet  two  inches  and  one  seventh  part  of 
an  inch. 

Divide  3  ...  2  1-7  into  sixty  equal  parts,  will  give  a  scale  of  minutes  for  propor- 
tioning the  parts.  The  diameter,  found  by  the  following  rule,  in  feet  and  inches,  is  always 
supposed  to  be  divided  into  sixty  equal  parts,  for  minutes. 

TO  FIND  THE  HEIGHT  OF  THE  TUSCAN  ENTABLATURE,  AND  THE  DIAMETER  OF  ITS  COL- 
UMN, THE  ENTIRE  HEIGHT  OF  THE  COLUMN  AND  ENTABLATURE  BEING  GIVEN. 

RULE. 

Divide  the  height  by  five,  and  the  quotient  will  give  the  height  of  the  entablature ; 
.subtract  the  height  of  the  entablature  last  found  from  the  entire  height,  and  the  re- 
mainder will  be  the  height  of  the  column ;  divide  this  remainder  by  seven,  as  before, 
and  the  quotient  will  be  the  diameter  of  the  column. 

Example  2. 

Suppose  it  were  required  to  execute  the  Tuscan  column  with  its  entablature,  to  the 
height  of  twenty-two  feet  one  inch,  I  demand  the  height  of  the  entablature,  and  the 
diameter  of  the  column. 

OPERATION. 

5)  22  ...  1 


4  ...  5  height  of  the  entablature. 


7)  17  ...  8  height  of  the  column. 


2  .  .  .  6 1  diameter  of  the  column. 
The  diameter  of  the  column  being  now  found,  it  will  be  readily  put  in  as  follows : 
Suppose  it  were  required  to  execute  a  column  to  two  feet  six  inches,  and  two-seventh 
parts  of  an  inch ;  take  a  rod  of  that  dimension,  and  divide  it  into  six  equal  parts,  or 
modules,  and  the  first  part  again  into  ten  for  minutes,  and  proceed  in  practice  in  the 
same  manner  as  if  you  were  drawing  it  on  paper. 

TO  FIND  THE  DIAMETER  OF  THE  COLUMN,  THE  HEIGHT  OF  THE  ENTABLATURE,  AND 
THE  HEIGHT  OF  THE  TEDESTAL,  WHEN  THE  WHOLE  IS  TO  BE  EXECUTED  TO  A  GIVEN 
HEIGHT. 

R  ULE. 

Divide  the  entire  height  "by  nve,"and  the  quotient  will  be  the  height  of  the  pedestal . 
subtract  this  height  from  the  entire  height,  and  the  remainder  will  be  the  height  of  the 
co1nnm<  with  its  entablature:  divide  the  remainder  again  by  five,  and  the  quotient  will 


15 


be  the  height  of  the  entablature:  subtract  the  quotient  from  the  first  remainder,  and  the 
last  remainder  will  be  the  height  of  the  column :  and  this  last  remainder  being  divided 
by  seven,  will  give  the  diameter  of  the  column. 


Example. 

It  is  required  to  execute  the  Tuscan  Order  complete,  with  an  entablature,  column, 
and  pedestal,  to  the  height  of  thirty  feet :  I  demand  the  height  of  the  pedestal,  height 
of  the  entablature,  and  diameter  of  the  column. 


OPERATION 

5)  30 


6  feet,  the  height  of  the  pedestal. 


5)  24  height  of  the  column  and  entablature. 


4  .  .  .  9f  height  of  the  entablature. 


7)  19  .  .  .  2 1  height  of  the  column. 


2  .  .  .  8f  diameter  of  the  column. 


16 


PLATE  X. 

The  Tuscan  Order  properly  shaded  is  given  as  an  example,  after  the  manner  of  setting 
out  the  parts  and  striking  the  mouldings  are  well  acquired. 


TUSCAN  ORDER. 
Plate  10. 


!!—)]! 


17 


PLATE  XI. 


TO  DRAW  THE  TUSCAN  COLUMN  TO  A  GIVEN  HEIGHT. 

For  the  Column. 

Fig.  1 .  Divide  the  height  in  seven  equal  parts,  one  of  these  is  the  diameter  of  the 
column,  and  a  scale  to  proportion  the  parts  by.     See  page  38. 

For  the  Column  and  Entablature. 

Fig.  2.  Divide  the  given  height  into  five  equal  parts,  give  one  for  the  height  of  the 
entablature  ;  then  divide  the  remaining  four  into  seven  parts,  of  which  one  will  be  the 
diameter  of  the  column. 


For  the  Column  and  Entablature  upon  a  Subplinth. 

Divide  the  whole  height  C  D  into  twelve  equal  parts,  one  will  be  the  height  of  the 
subplinth  ;  divide  the  remaining  eleven  into  five  equal  parts,  one  will  be  the  height  of 
the  entablature ;  divide  the  remaining  four  of  these  parts  into  seven,  and  one  will  be 
the  diameter  of  the  column. 


For  the  Column  and  Entablature  upon  a  Pedestal. 

Divide  the  whole  height  E  F  into  five  equal  parts,  the  lower  one  will  give  the  height 
of  the  pedestal ;  divide  the  remaining  four  into  five  equal  parts,  the  upper  one  will  give 
the  height  of  the  entablature  ;  divide  the  remaining  four  of  these  into  seven  equal  parts, 
and  one  is  the  diameter  of  the  column, 

3 


18 

PLATE  XII. 

Is  a  Tuscan  base  and  capital  for  a  pilaster :  the  scale  will  show  the  proportions  of  the 


A  FINISHED  BASE  AND  CAPITAL 

Plate  12. 


FOR  A 


PILASTER. 


DORIC  ORDER. 
Plate  13. 


19 

PLATE  XIII. 

The  manner  of  drawing  the  parts  of  the  Doric  order  is  much  the  same  as  in  the 
Tuscan ;  the  heights  and  projection  of  the  parts  being  taken  from  the  diameter  of  the 
column  at  bottom,  which  is  a  scale,  alike  in  all  the  orders  ;  so  that  the  drawing  and 
executing  of  the  Tuscan  order  if  well  understood,  to  draw  the  Doric  or  any  other  order 
will  easily  be  comprehended,  without  further  instruction  or  repetition.  One  thing  may 
seem  difficult  in  this  order,  which  are  the  triglyphs  ;  these  in  modern  buildings  are  placed 
exactly  over  the  centre  of  the  column,  thirty  minutes  wide,  so  that  fifteen  minutes  are 
on  each  side  of  the  axis  of  the  column :  the  mutules  in  the  cornice  are  exactly  over 
them,  of  the  same  breadth  ;  the  small  conical  frustrum  under  the  triglyphs  are  called 
guttse  or  bells  :  the  manner  of  drawing  the  triglyph  and  bells  is  as  follows  ;  divide  the 
breadth  into  twelve  equal  parts,  give  one  to  each  half  channel  on  the  outside,  two  for 
each  space  or  interval,  and  two  for  each  channel,  and  one  space  will  remain  in  the  mid- 
dle ;  every  two  divisions  or  parts  is  the  width  of  a  bell ;  the  side  of  every  bell,  if  contin- 
ued, would  terminate  in  a  point  at  the  top  of  the  fillet  above  them ;  the  spaces  between 
the  triglyphs,  called  metopes,  are  generally  square,  and  sometimes  enriched  with  ox 
heads,  as  in  Plate  XV.  and  sometimes  with  pateras,  according  to  fancy ;  when  the  co- 
lumn is  fluted,  it  has  twenty  in  number,  and  these  without  fillets,  as  in  Plate  XV.  For 
the  manner  of  drawing  the  flutes  of  the  Doric  column,  see  Plate  V.  Fig.  1  and  2. 


20 


PLATE  XIV. 


Is  a  Doric  cornice  with  the  planceer  inverted,  so  that  the  whole  of  the  work  and  or- 
naments under  the  cornice  may  be  clearly  seen. 


GRECIAN  DORIC—TEMPLE  OF  THESEUS. 
Plate  14. 


THE  DORIC  ORDER  WITH  DENTILS. 
Plate  15. 


21 


PLATE  XV. 

Is  another  example  of  the  Doric  order  ;  with  dentils  in  the  cornice;  and  is  very  proper 
for  the  inside  of  a  building,  the  column  being  fluted,  and  the  whole  much  enriched. 

This  example  is  after  the  manner  of  the  Doric  order  in  the  theatre  of  Marcellus  at 
Rome. 

TO   DRAW  THE   DORIC   ORDER  TO   A   GIVEN  HEIGHT. 

For  the  Column. 

Divide  the  height  into  eight  equal  parts,  one  of  the  parts  is  the  diameter  of  the  co- 
lumn, which  diameter  is  to  be  divided  into  modules  and  minutes,  as  before  directed,  for 
practic. 

For  the  Column  and  Entablature* 

Divide  the  given  height  into  five  equal  parts,  and  the  upper  parts  will  give  the  height 
of  the  entablature  ;  divide  the  remaining  in  eight  equal  parts,  and  one  will  give  the 
diameter  of  the  column. 

For  the  Column  and  Entablature  upon  Subplinth. 

Divide  the  given  height  into  twelve  equal  parts,  the  lower  one  will  give  the  height  of 
the  subplinth  ;  divide  the  remaining  eleven  into  five  equal  parts,  the  upper  one  is  the 
height  of  the  entablature  ;  divide  the  remaining  four  parts  into  eight,  and  one  of  these  is 
the  diameter  of  the  column. 

For  the  Column  and  Entablature  upon  a  Pedestal. 

Divide  the  given  height  into  five  equal  parts,  the  lower  one  is  the  height  of  the  pe- 
destal; divide  the  remaining  four  into  five  equal  parts,  and  the  upper  one  is  the  height 
of  the  entablature  ;  divide  the  remaining  four  of  these  into  eight  equal  parts,  and  one 
will  give  the  diameter  of  the  column. 


22 


PLATE  XVI. 

FROM   THE  TEMPLE   OF  MINERVA  AT  ATHENS. 

Shows  the  profile  of  the  order,  elevation  of  the  parts,  and  proportion  of  the  members. 
This  example  is  taken  from  the  flank  of  the  temple,  and  is  well  adapted  to  all  buildings 
which  require  a  solemn  and  dignified  character.  The  temple  from  which  this  example 
is  taken,  is  one  of  the  numerous  buildings  which  were  erected  during  the  administration 
of  Pericles  a  Athens;  he  employed  Calicrates  and  Ictinus  as  architects  under  Phidias. 
It  exceeds  all  the  remains  of  antiquity  in  grandeur  and  boldness  of  parts.  The  taste  of] 
the  members  of  this  example  is  much  the  same  as  in  the  temple  at  Theseus,  as  will  be 
shown  hereafter,  the  parts  here  being  only  of  a  bolder  character. 

Note. — The  measurements  are  in  modules  and  minutes. 


GRECIAN  DORIC— TEMPLE  OF  MINERVA 
Plate  16. 


<0# 


I    r\3<> 


TEMPLE   OF  MINERVA. 


Plate  17. 


23 


PLATE  XVII. 

PARTS  AT  LARGE  AND  IN  DETAIL  OF  THE  PRECEDING  EXAMPLE. 

Fig.  1.  Cornice,  No.  1.  shows  the  profile,  No.  2.  the  soffit. 

Fig.  2.  Profile  of  the  front  part  to  a  larger  scale. 

Fig.  3.  The  moulding  under  the  fillet  still  larger,  showing  its  particular  form. 

Fig.  4.  Shows  the  recess  or  cutting  upwards,  in  the  under  face  of  the  corona. 

Fig.  5.  Echinus  of  the  capital. 

Fig.  6.  Annulets  of  the  same. 

Fig.  7.  Quarter  plan  of  the  column  at  each  extremity. 

Fig.  8.  Annulets  of  the  interior  columns. 


24 


PLATE  XVII. 

FROM  THE  TEMPLE  OF  THESEUS  AT  ATHENS. 

The  building  from  which  this  example  is  taken  is  one  of  the  most  perfect  remains  of 
antiquity,  and  is  generally  supposed  to  be  of  the  age  of  Pericles.  The  various  parts 
have  an  elegant  contour,  are  well  proportioned,  of  a  light  character,  consequently  it  is 
is  well  adapted  for  private  buildings.  The  column  in  the  original  is  nearly  six  diameters 
in  height.    In  this  plate  part  of  the  pediment  is  shewn. 


P  !  a  te  18. 


25 


PLATE  XIX. 

PARTS  AT   LARGE  AND  IN  DETAIL  OP  THE   PRECEDING  EXAMPLE. 

Fig.  1.  Quarter  plan  of  the  column,  at  the  superior  and  inferior  diameter  of  the  shaft. 

Fig.  2.  Profile  of  the  cornice  to  a  large  scale. 

Fig.  3.  Soffit  of  the  corona,  with  a  section  of  the  angular  triglyph. 

Fig.  4.  One  of  the  flutes  showing  its  proportions,  and  the  manner  of  drawing  its 
elliptical  segmental  figure :  first  draw  the  chord  to  its  extent,  and  bisect  it  by  a  perpen- 
dicular, set  the  depth  of  the  flute  on  the  perpendicular,  from  one  side  of  the  chord,  which 
will  give  the  extremity  of  the  flute :  from  this  extremity  set  the  radius  in  the  contrary 
direction,  extending  over  the  chord,  which  will  give  the  centre :  divide  the  chord  of  the 
flute  into  five  equal  parts,  through  the  first  divison  from  each  end,  and  from  the  centre, 
draw  two  right  lines,  then  upon  the  centre  with  the  radius  describe  an  arc  limited  by  these 
lines,  and  this  will  give  the  middle  part  of  the  flute :  divide  each  of  these  radial  lines 
into  three  equal  parts :  take  the  first  point  of  division  in  each  next  to  the  arc,  and 
describe  each  remaining  part  of  the  flute,  and  this  will  form  the  elliptic  segmental  figure 
of  the  flute. 

Fig.  6.  Lower  part  ol  the  triglyph  with  the  architrave  band,  the  tenia,  and  the  pend- 
ing guttse. 


2G 


PLATE  XX. 

OTHER  PARTS   AT   LARGE   OF   THE   FOREGOING,  AND   OF   THE   FOLLOWING  EXAMPLES. 

Fig.  1.  Profile  of  the  echinus  of  the  capital  of  the  temple  of  Theseus  to  a  large 
scale :  this  moulding  as  well  as  that  of  the  temple  of  Minerva,  is  an  hyperbola,  or  the 
portion  of  one  :  the  low?r  part  from  the  greatest  projection  at  the  top  to  the  bottom, 
being  one  of  the  legs ;  the  upper  part  forming  the  quirk  or  recess  above,  part  of  the 
other  leg,  and  the  greatest  projection  the  vertex.  It  is  something  singular,  that  the  very 
ancient  mouldings  in  Grecian  capitals,  should  be  of  this  form,  and  some  of  them  quite 
straight,  from  one  end  to  the  other,  which  may  be  considered  as  a  section  of  the  cone 
through  the  vertex. 

Fig.  2.  Annulets  under  the  echinus  of  the  capital  of  the  column.  The  reader  may 
here  observe  that  the  annulets  continue  in  the  general  foim  of  the  curve,  viz.  the  recess- 
es in  the  curve  itself,  and  the  extremities  in  a  line  parallel  to  that  curve. 

Fig.  3.  Profile  of  the  echinus  of  the  capital  of  the  Doric  Portico,  as  in  the  following 
plate  ;  this  moulding  is  singular,  being  of  an  elliptical  figure  ;  it  is  more  than  a  quad- 
rant. This  portico  was  built  while  the  government  of  Athens  was  in  the  hands  of  the 
Romans,  who  were  partial  to  mouldings  of  a  uniform  and  bold  curvature  ;  the  taste  of 
the  Grecians,  it  appears,  began  to  blend  with  that  of  their  conquerers,  hence  I  account 
for  the  elliptic  form  of  this  member ;  it  is  a  medium  be!  ween  a  hyperbolical  and  a  circu- 
lar moulding. 

Fig.  4.  Part  of  the  annulets  of  the  capital  of  the  same  column,  no  less  singular  in 
their  construction  than  the  echinus,  or  other  members  of  this  example,  being  disposed 
vertically,  and  in  the  form  of  chamfered  rustics ;  whereas  the  annulets  of  other  Grecian 
remains  follow  the  contour  of  the  echinus,  as  has  been  before  observed. 


DORIC  PORTICO. 
Plate  20. 


TEMPLE  OF  THESEUS. 


27 


PLATE  XXI. 

FROM  THE   DORIC   PORTICO  AT  ATHENS. 

This  plate  exhibits  the  contour,  the  elevation,  and  proportions  of  the  members  in 
minutes  and  parts  of  a  minute.  This  example,  although  singular  on  account  of  its  ap- 
proach to  the  Roman  style  in  the  members,  is  in  its  general  form  the  same  as  other 
Grecian  examples. 

As  Mr.  Stuart  appears  to  have  bestowed  particular  attention  to  the  measures  of  these 
Doric  examples,  here  shown,  I  have  with  considerable  pains  reduced  the  original  meas- 
ures of  feet,  inches,  and  decimals  of  an  inch,  by  arithmetical  calculations  into  minutes, 
and  decimal  parts  of  a  minute,  and  not  by  measuring  them  from  two  scales  which  would 
have  been  more  expeditious  to  me,  but  much  less  accurate  :  each  minute  is  conse- 
quently divided  into  ten  equal  parts,  each  of  these  again  into  ten,  and  so  on  as  long  as 
division  can  be  made.  By  these  universal  proportions,  the  construction  will  be  more 
easily  obtained  by  students  in  general. 


28 


PLATE  XXII. 


Shows  the  front,  side,  and  plan  of  the  Roman  Ionic  capital.  The  whole  height  of  the 
volute  is  twenty-eight  minutes,  the  centre  of  the  volute  is  sixteen  minutes  from  the  top 
side  of  the  list ;  and  is  described  as  in  Plate  XXVIII. ;  the  bead,  or  upper  part  of  the 
astragal,  is  equal  in  thickness  and  in  height,  to  the  eye  of  the  volute ;  the  height  of  the 
ovolo  above,  is  from  the  upper  side  of  the  eye,  to  the  upper  side  of  the  list  in  the  second 
revolution ;  the  projection  of  the  cincture,  or  hollow  under  the  fillet  of  the  astragal,  is 
equal  to  the  height  of  the  fillet ;  and  the  projection  of  the  bead  is  a  semicircle  ;  for  the 
ovolo,  the  quarter  of  a  circle,  whose  projection  is  from  the  perpendicular  line  of  the  fillet. 
The  dotted  line  upon  the  volute,  is  a  section  through  the  side  at  A  B  ;  or  through  the 
plan  at  C  D  ;  the  ornamental  part  is  drawn  by  hand. 


ROMAN  IONIC. 
Plate  22. 


FRONT. 


f  / 


IONIC  CAPITAL. 
Plate  25. 


29 


PLATE  XXIII. 


The  front  and  plan  of  the  angular  Ionic  capital ;  the  plan  is  inverted  that  the  mould* 
ings  underneath  the  abacus  may  be  seen  ;  the  volutes  in  front  are  drawn  according  to 
Plate  XXIX. ;  this  sort  of  capital  has  an  advantage  over  the  others,  it  fronts  each  of  its 
sides  alike ;  which  is  not  the  case  with  the  Grecian  capital,  unless  one  of  the  angles  is 
horned  at  the  return  of  the  building ;  which  is  unpleasing  to  some,  and  not  consicered 
as  correct. 


30 


PLATE  XXIV. 

Is  the  Ionic  order  with  dentils  in  the  cornice  on  an  attic  base ;  the  capital  is  in  the 
Grecian  taste  ;  the  manner  of  drawing  the  uppei'  list  is  the  same  as  described  to  Plate 
XXVIII.  the  under  list  is  drawn  by  hand,  the  other  parts  are  obvious  to  inspection. 


MODERN 
Plate 


IONIC. 


25. 


31 


PLATE  XXV. 

The  Ionic  order  with  modillions,  and  an  angular  capital ;  the  measures  of  the  parts 
are  accurately  figured  ;  Fig,  1.  is  a  section  of  the  capital  through  the  middle  of  the  aba- 
cus, in  order  to  show  the  projection  of  the  mouldings. 

TO   DRAW   THE   IONJC   ORDER   TO   A   GIVEN  HEIGHT. 

For  the  Column  and  Entablature. 

Divide  the  whole  height  into  six  equal  parts,  give  the  upper  one  to  the  entablature, 
divide  the  lower  five  into  nine  parts,  and  one  will  give  the  diameter  of  the  column,  to  be 
divided  into  sixty  minutes,  as  a  scv.le  to  work  or  draw  by. 

For  the  Column  and  Entablature  on  a  Subplinth. 

Divide  the  whole  height  into  twelve  equal  parts,  give  the  lower  one  to  the  subplinth, 
and  proceed  with  the  remaining  eleven  as  above,  and  you  will  get  the  height  of  the  en- 
tablature, and  the  diameter  ef  the  column. 

For  the  Column,  Entablature,  and  Pedestal. 

The  height  of  the  pedestal,  for  this  or  any  of  the  five  orders,  is  always  one-fifth  part 
of  the  entiie  height ;  then  the  height  of  the  entablature,  and  diameter  of  the  column,  is 
found  as  before. 


32 


PLATE  XXVI. 


The  Ionic  cornice  with  the  planceer  inverted,  showing  the  finishings  underneath 
the  cornice. 


IONIC— TEMPLE    AT  ATHENS. 


Plate  27. 


33 


PLATE  XXVII. 


FROM  THE  IONIC   TEMPLE   ON  THE  ILISSUS,  AT  ATHENS. 


This  elegant  temple  is  entirely  destroyed  ;  not  a  fragment  now  remains  :  but  the  in- 
genious workman,  from  this  book,  may  restore  it  with  the  greatest  exactness. 

This  is  a  very  fine  example,  uniting  elegance  with  simplicity  :  the  column  is  well  pro- 
portioned in  all  its  parts  ;  the  turnings  of  the  spirals  are  gracefully  formed,  and  the  volutes 
which  form  the  capital  are  bold,  which  give  an  appearance  truly  characteristic  of  this 
order.  The  members  of  the  enaablature  are  few,  but  their  effect  is  clear  and  distinct, 
calculated  for  effect  at  a  distance. 


5 


34 


PLATE  XXVIII. 


TO  DESCRIBE   THE  IONIC  VOLUTE. 

Divide  the  height  P  Q  into  seven  equal  parts,  upon  the  third  division  describe  a  circle 
about  C  as  a  centre,  whose  diameter  will  be  equal  to  one  of  the  parts  ;  draw  the  square 
V  W  X  U,  and  in  that  square  draw  another,  whose  angles  shall  touch  the  sides  of  the 
former  square  in  the  middle.  In  order  to  make  the  construction  of  the  centres  appear 
plain,  the  centre  part  is  shown  above  of  a  larger  size,  and  the  same  letters  of  reference 
put  to  each  ;  divide  C  1  and  C  2  each  into  three  equal  parts  at  9,  5;  10,  and  6;  divide 
C  10  into  two  equal  parts  at  x,  if  the  volute  is  intended  to  be  on  the  right  hand,  as  in  this 
example  ;  but  if  on  the  left,  divide  C  9  into  two  equal  parts,  and  proceed  in  each  case  as 
fellows  :  from  x  draw  the  perpendicular  line,  cutting  the  side  S  F  of  the  square  at  D ; 
from  D  make  DE  and  D  F  equal  to  G  1  or  G  2  ;  join  EH  and  F  H,  draw  5, 4.. .9,  8... 10, 
11,  and  6,  7,  parallel  to  the  perpendicular  side  of  the  square,  cutting  E  H  and  F  H,  at  4. 
8.3.7.11;  then  1... 2.. .3. ..4. ..5.. .6. ..7.. .8.. .9.. .10.. .11. ..and  12  are  the  centres.— 
Begin  at  1,  and  with  the  radius  1  A,  describe  the  quadrant  A  B,  of  the  volute  ;  on  2,  with 
the  radius  2B  describe  the  quadrant  B  C  :  on  3,  describe  the  quadrant  C  D  ;  proceed  in 
this  manner  with  all  the  quadrants,  till  you  touch  the  eye  at  U,  and  it  will  comple  one 
side  of  the  fillet. 

To  draw  the  inside  of  the  Fillet. 

Divide  the  thickness  of  the  list  A  a  at  the  top  into  twelve  equal  parts,  by  means  of  the 
scale  N,  O,  R,  as  follows ;  beginning  at  N,  and  with  any  opening  of  the  compass  run  it 
twelve  times  from  N  to  O  ;  draw  0  R,  making  any  angle  with  O  N  ;  make  O  R  equal 
the  thickness  of  the  fillet  at  A  a  ;  join  R  N,  draw  a  11,  b  10,  c  9,  d  8,  &c.  parallel  to  R  O ; 
make  the  thickness  of  the  list  at  B  b,  equal  to  a  11  ;  and  D  d,  equal  to  b  10,  &c.  at  the 
beginning  of  every  quadrant ;  join  a  b,  and  bisect  it  by  a  perpendicular  meeting  the  eye 
a  little  within  the  first  centre  ;  set  the  same  small  distance  within  all  the  other  centres, 
and  proceed  to  describe  the  inside  of  the  list,  in  the  same  manner  as  the  outside,  and  it 
will  end  in  a  point  with  the  outside  at  U  ;  and  the  volute  will  be  completed. 


IONIC  VOLUTE. 


Plate  28. 


Plate  29. 


P 


35 


PLATE  XXIX. 


TO   DRAW  AN  ANGULAR  VOLUTE. 

Divide  the  perpendicular  height  A  B,  as  in  Fig.  1.  into  twenty-three  equal  parts  ; 
take  the  centre  G,  ten  divisions  from  the  bottom,  or  thirteen  from  the  top,  through  the 
centre  G  draw  H  I  perpendicular  to  A  B  ;  bisect  the  angle  B,  G,  I  by  the  diagonal 
line  D,  C  ;  through  the  first  division  K  above  H,  on  the  line  A  B,  draw  K  E  parallel  to 
H  I,  cutting  the  line  D  C  at  E,  on  G  as  a  centre,  with  a  radius  G  E,  describe  a  circle 
cutting  D  C  on  the  opposite  side  of  the  centre  at  F  ;  divide  F  E  into  six  equal  parts  at 
3,  5,  G,  6,  4,  F,  then  on  E  as  a  centre,  with  a  radius  E  B  describe  an  arc  D  C  cutting 
D  C  at  C,  on  F  with  a  radius  F  C  describe  the  semicircle  C,  A,  K,  cutting  C  D  at  K,  on  3 
with  a  distance  3  K  describe  a  semicircle  K  L,  on  4  as  a  centre  with  the  radius  4  L  de- 
scribe a  semicircle  L  M,  on  5  as  a  centre  with  a  radius  5  Mdescribe  a  semicircle  M  N  ; 
lastly  on  C  with  a  radius  6  N,  describe  a  semicircle  N  E,  touching  the  centre  at  E,  then 
figure  1  will  be  completed.  This  method  will  describe  an  elliptical  volute  to  a  given 
height,  but  not  to  any  given  width,  this  is  only  a  preparation  to  what  follows. 

To  describe  an  Elliptical  Volute  to  any  given  Height  and  Projection  from  tlx0.  Centre, 

Fig.  2.  Divide  the  given  height  L  M  into  twenty-three  equal  parts  as  before,  taking 
the  centre  E  ten  from  the  bottom,  or  thirteen  from  the  top  ;  through  N  the  first  division 
above  E  draw  N  F,  cutting  the  diagonal  line  E  0  at  F,  on  E  as  a  centre,  with  a  radius 
E  F,  describe  the  dotted  circle  ;  or  through  E  draw  P  Q  at  right  angles  to  the  diagonal 
line  0  E,  make  E  P  and  E  Q  each  equal  E  F,  on  F  as  a  centre  with  the  distance  L  F, 
describe  an  arc  L  H,  cutting  E  H  at  right  angles  to  L  M  at  H,  from  E  make  E  G  equal 
to  the  distance  the  projection  of  the  volute  is  intended  to  be  from  the  centre,  divide  G  H 
into  six  equal  parts,  and  set  one  of  the  parts  to  I ;  make  E  K  and  E  R  each  equal  to  the 
sum  of  the  two  lines  E  F  and  G  I,  through  the  points  K,  P,  R,  Q,  complete  the  parallelo- 
gram A  B,  C  D,  whose  sides  A  B,  D  G,  are  parallel  to  P  Q  and  A  D,  B  C  parallel  to  K 
R,  draw  the  diagonals,  A  C  and  B  D,  and  divide  each  of  them  into  siz  equal  parts,  then 
on  B  as  a  centre,  with  the  radius  B  L  describe  the  arc  L  b,  cutting  A  B  produced  at  6, 
on  A  as  a  centre  with  the  radius  A  6,  describe  the  arc  b  c,  cutting  A  D  produced  at  c, 
on  D  as  a  centre  with  the  radius  D  c,  describe  an  arc  c  d,  cutting  D  D  produced  at  d, 
on  C  as  a  centre  with  a  radius  C  d,  describe  an  arc  de,  on  5  as  a  centre  with  a  radius  5  e, 
describe  an  arc  e/*,  on  6  as  a  centre  with  the  radius  6 describe  an  arc  f  g,  on  7  as  a 
centre  with  the  radius  7  g*,  describe  an  arc  g  /*,  on  8  as  a  centre  with  a  radius  8  h  de- 
scribe an  arc  h  i  proceed  in  this  manner,  beginning  the  third  revolution  at  9,  till  you  end 
at  12  ;  lastly  describe  an  ellipsis  touching  the  last  centre  of  the  third  revolution  E,  be- 
ing its  centre,  and  its  transverse  and  conjugate  axis  being  in  the  same  ratio  as  the  length 
or  height  of  the  volute  is  to  its  width,  and  it  will  be  finished. 


36 


PLATE  XXX. 


THE  MANNER  OF  GLUING  UP  THE  IONIC  CAPITAL. 

Fig.  1.  for  a  column;  the  parts  marked  B,  B,  &c.  are  triangular  blocks  of  wood, 
glued  upon  the  front,  in  order  to  complete  the  angular  square  ;  then  the  pieces  AAA, 
&c.  are  glued  upon  them  ;  this  is  one  method  of  gluing  up  the  capital. 

Another  method  is,  to  glue  the  triangular  blocks  C  C,  at  the  angle  of  the  abacus  ;  then 
the  four  sides  of  the  abacus  as  D  E  E,  may  be  made  of  one  entire  length,  and  mitred 
at  the  horns  ;  or  they  may  have  a  joint  in  the  middle  of  the  abacus,  where  the  rose 
comes,  as  the  workman  shall  think  fit ;  this  will  either  do  for  a  column  or  pilaster. 

Fig.  2.  is  a  manner  of  gluing  up  the  abacus  for  a  pilaster  capital ;  but  in  my  opinion 
it  is  far  from  being  a  complete  method,  for  when  all  the  superfluous  wood  is  worked  off, 
the  joints  at  the  horn  will  be  in  various  directions,  and  the  end  of  the  wood  butting  against 
the  grain  never  holds  fast. 


METHODS  OF  GLUEING  UP  IONIC  CAPITALS. 

Pldte  30. 


CORINTHIAN  CAPITAL. 
Plate   8  1. 


37 


OF  THE  CORINTHIAN  ORDER. 

PLATE  XXXI. 

Is  the  Corinthian  capital  and  plan  in  outline  for  the  sake  of  clearness  ;  to  find  the 
places  of  the  stems  of  the  leaves,  divide  the  semi-plan  into  eight  equal  parts,  and  draw 
the  plan  of  the  leaves,  with  their  stems  ;  from  the  side  of  each  stem  draw  the  perpen- 
dicular lines  of  the  elevation  of  the  capital,  and  it  will  give  the  breadth  of  each  stem  on 
the  front,  the  projection  of  the  tops  of  the  leaves  is  from  a  line  joining  the  top  of  the  aba- 
cus and  the  astragal  at  the  bottom  of  the  capital,  the  heights  of  the  leaves  are  shown 
in  Plate  XXXII.  the  outline  of  the  leaves  are  drawn  by  hand  ;  observe,  that  these  out- 
lines are  supposed  to  be  only  in  black-lead  pencil,  preparatory  to  shading  and  finishing 
them,  as  shown  in  Plate  XXXII. 


V 


38 


PLATE  XXXII. 


Is  the  Corinthian  order  fully  enriched  with  ornaments,  which  may  be  executed  with 
the  order  or  not,  according  to  the  place  it  is  intended  for ;  before  the  student  begins  to 
draw  this  orddr,  he  ought  to  be  well  acquainted  with  drawing  the  various  kinds  of  or- 
nament and  foliage,  otherwise  he  never  will  produce  a  masterly  performance,  or  be  able 
to  make  any  considerable  figure  in  drawing  so  elegant  a  subject. 


Plate    3  2. 


Plate  33. 


39 


PLATE  XXXIII. 


The  Corinthian  cornice,  with  the  planceer  inverted.  The  height  and  projections  of 
the  cornice  are  the  same  as  in  Plate  XXXII. 


40 


PLATE  XXXIV. 


Is  the  manner  of  drawing  the  Corinthian  column  with  an  entablature  entire  ;  or  the 
column  and  entablature  on  a  pedestal ;  or  upon  a  subplinth.  The  diameter  of  the  co- 
lumn is  one-tenth  part  of  its  height ;  the  height  of  the  entablature,  and  pedestal,  are 
found  in  the  same  manner  as  in  the  Ionic  order ;  that  is,  the  height  A  B,  fig.  1.  is  divided 
into  six  equal  parts,  the  upper  one  is  for  the  height  of  the  entablature  ;  one  half  of  which 
will  of  course,  be  the  diameter  of  the  column.  The  rods  C  D,  and  E  F,  show  the  me- 
thods of  setting  off  the  order  when  it  is  to  be  executed  on  a  pedestal  or  on  a  subplinth ; 
the  pedestal  takes  one-fifth  of  the  entire  order,  the  subplinth  one- twelfth.  The  diameter 
of  the  column  is  one-tenth  of  its  height. 


CORINTHIAN. 

Plate  34. 


COMPOSITE  CAPITAL. 
Plate   3  5. 


SOMln. 


41 


OF  THE  COMPOSITE  ORDER. 

PLATE  XXXV. 

General  outline  of  the  Composite  capital,  showing  the  manner  of  projecting  the  same. 
See  the  description  of  Plate  XXXI. 


6 


42 


PLATE  XXXVI. 


Is  the  Composite  order,  so  named  because  of  its  capital ;  the  upper  part  being  the 
same  as  the  Ionic  angular  capital,  and  the  lower  part  for  leaves,  the  same  as  the  Co- 
rinthian ;  the  general  heights  of  the  cornice,  frieze,  architrave,  capital,  shaft  and  base, 
are  the  same  as  those  of  the  Corinthian  ;  the  diameter  of  the  column  is  one-tenth  part 
of  its  height,  as  in  the  Corinthian  ;  the  heights  and  projections  of  the  members  are 
plain  by  the  measures  on  the  plate. 


COMPOSITE  ORDER. 


P  I  a  i  e   3  6. 


PEDESTALS  FOR   FOUR  OF   THE  ORDERS 
Plate   3  7. 

Doric. 


Tuscan. 


Corinthian. 


Ionic. 


43 


PLATE  XXXVII. 

Contains  pedestals  for  four  of  the  orders.  It  has  been  already  mentioned,  that  the 
pedestal  of  every  order  is  one-fifth  of  its  entire  height ;  the  die  of  the  pedestal,  or  plain 
part,  is  in  breadth  equal  to  the  plinth  of  the  base  of  the  column. 


44 


PLATE  XXXVIII. 


OP  BASES. 


To  each  order  there  is  a  particular  kind  of  base.  A  Tuscan  base  is  shwon  to  Plate 
IX.  and  X.  To  the  Doric  there  is  no  particular  base,  but  the  Attic  base  is  proper  to 
be  used  as  shown  on  Plate  XIII.  The  Ionic  base  is  of  a  clumsy  appearance,  and  is 
very  rarely  used,  Fig-,  1,  Plate  XXXVIII.  The  Corinthian  base  is  very  elegant,  as  is 
shewn  by  Fig.  2.  The  Composite  base  is  Fig.  3.  The  Attic  base  (Plate  XIII.  and 
XXIV.)  is  most  frequently  used,  and  is  applicable  to  all  the  orders,  except  the  Tuscan. 

Method  for  Gluing  vp  Bases. 


Fig.  4  is  a  plan  showing  how  the  bottom  course  is  mitred  together ;  which  must  be 
done  on  a  flat  board,  and  all  the  joints  fitted  as  close  as  possible  :  this  course  being  glued 
together  with  care,  and  well  blocked  in  the  inside  at  the  angles,  and  the  glue  being 
thoroughly  dry,  plane  the  top  of  the  course  quite  smooth,  and  out  of  winding  ;  then  glue 
on  the  next  course,  breaking  the  joint  in  the  middle  of  the  under  course,  as  shown  by 
the  dotted  lines,  and  so  on,  for  as  many  courses  as  are  wanted  ;  when  thoroughly  dry, 
it  may  be  sent  to  the  turner.  The  bedding  joints  may  be  on  one  side  of  a  fillet,  as 
shown  in  the  elevation,  Fig.  5,  A  A,  B  B,  C  C ;  a  base  glued  up  in  this  manner,  will 
be  the  strongest  possible,  and  be  less  liable  to  crack  and  split,  than  by  any  other  method 
I  have  seen  practised 


BASES. 
Plate  38. 


45 

DESIGNS  FOR  DOOR  CASES. 
PLATE  XXXIX. 
Is  a  design  for  a  door-case  of  the  Tuscan  order. 


46 

PLATE  XL. 
Is  a  design  for  a  door-case  of  the  Doric  order. 


DORIC  DOOR. 


]  ON  I  C  J)  0  0  R. 


47 


PLATE  XLI. 


Door-way  and  portico  from  the  Ionic  Temple,  (see  Plate  XXVII.)  That  doors  of 
this  construction  were  used  by  the  ancients  is  evident  from  the  example  of  the  Tower  of 
the  Winds,  as  shown  by  Stuart,  in  the  Antiquities  of  Athens,  vol.  i. 

The  above  are  proper  examples  to  draw  from,  and  will  give  some  useful  ideas  for 
composition  and  combinations  of  the  orders,  and  their  parts,  and  will  look  well  if  pro- 
perly executed. 


